: Philip Terry
: Dante's Purgatorio
: Carcanet Poetry
: 9781800174467
: 1
: CHF 14.60
:
: Lyrik
: English
: 256
: Wasserzeichen
: PC/MAC/eReader/Tablet
: ePUB
A sequel to Philip Terry's Dante's Inferno (2014), where Dante relocates to the University of Essex, here the action shifts from Dante's Island of Purgatory to Mersea Island, in Essex still, where the poet and his guide Ted Berrigan climb a mountain made out of Flexible Rock Substitute (FRS). Dante's artists are replaced with contemporary artists and artists-in-residence on the Essex Alp, including Grayson Perry, Rachel Whiteread and Damien Hirst. Hirst, an example of pride, is encountered not carrying a rock on his back, as in Dante, but carrying a washing-machine, a Siemens Avantgarde, which runs through its spin cycle as he carries it. Other characters encountered include Christopher Marlowe, Boris Johnson, Lady Diana, Jean Paul Getty, Hilary Clinton, Allen Ginsberg, Samuel Beckett, Martin McGuinness, Ciaran Carson and Anoushka S hankar. On the final terrace, the poet, accompanied by Berrigan and poet Tim Atkins, passes through a wall of flames to reach Dante's Paradise, here modelled on the Eden Project, where the poet meets his Beatrice, Marina Warner. The poem comes to a climax with an interview with Marina Warner in the LRB Tent, followed by a gig from the Pogues, for which Shane MacGowan has been brought up from Hell on an Arts Council 'Exceptional Talent' scheme.

Philip Terry was born in Belfast, and is a poet, translator, and a writer of fiction. He has translated the work of Georges Perec, Michèle Métail and Raymond Queneau, and is the author of the novel tapestry, shortlisted for the Goldsmiths Prize. His poetry and experimental translations include Oulipoems, Dante's Inferno and Dictator, a version of the Epic of Gilgamesh in Globish. The Penguin Book of Oulipo, which he edited, was published in Penguin Modern Classics in 2020, and Carcanet published his edition of Jean-Luc Champerret's The Lascaux Notebooks, the first ever anthology of Ice Age poetry, in 2022.

For better waters, now, the little smack

Of my inwit hoists its sail

Leaving behind the bottomlesss gulf,

Whose misery gouged deep its keel.

I will sing now of that strange island

Where the good dead are made better

And beaten into pure form,

Becoming fit to build on Earth a better place.

Oh Oulipo, who set free my voice,

Here let dead poetry live again,

And let Calliope sing along with that sweet

Contralto, whose strain shut the magpies up for good.

Like a photoshopped image of dawn

The radiant light of the sunshine coast

Burst from the horizon,

Blinding my dimmed sight with its refulgence,

So that I had to narrow the slits of my eyes

Which had grown accustomed to Hell’s dark.

Like distant laughter,

The planet Beckett described inIll Seen Ill Said

Rose above the fishing boats anchored offshore.

I turned to the right, fixing my peepers on the

Other pole,

where I saw four wind turbines gleaming:

The sky seemed to welcome their giant forms

As their blades began to turn

Bringing clean energy across the waters.

When I had finished gawping, I checked the football

On my phone – the ball was passed back in front of goal,

To where Wayne should have been, but he was gone.

I saw nearby an old man, standing alone,

his hair was all white,

his complexion bright,

And as I gazed into his eyes I recognised

Once more a man I had met on Earth,

The tenant of Bottengoms, author ofAkenfield.

The breeze that swept across the shore

lofted his hair

Like a rock star’s in front of a wind-machine.

‘Who are you, travellers, who have escaped

The eternal prison inside the Knowledge Gateway?’

He said, eyeing us haughtily.

‘How did you get here, against the blind current,

Or have the bus routes changed,

Or the laws of the VC been broken?

Is there a new edict in Senate such that

The damned, on day release, may wander into my

Caravan Park unchecked, from the Infernal Campus?’

Berrigan, my guide, seized me from behind,

And with a word in my ear and a nudge with his knee

Made me bend down and pay my respects.

Then he replied: ‘I didn’t come here of my

Own volition. A lady from London, lauded by

Knopfler – you may know the song, “Lady Writer” –

Asked me to help this man out of a fix.

But since you’re asking what the Hell

We’re doing here, let me put you straight.

This man has yet to pop his clogs,

But, through his misfortune, was so damn close to death

That there was barely time to turn things round.

As I’ve said, I was sent

To rescue him, and the only way was down,

The only way was Essex.

Already I have shown him all the damned souls

In the Infernal Campus, now I want him to see the good dead

Who come to rehab, here on the Essex coast.

How we got here?

How long have you got, old man? Put it this way –

When we set out on our journey through Hell,

Three days since, nobody had heard of Covid-19,

And now I’ve got a signal on my phone it’s all I read about.

From the AHRC comes the funding that brings him here,

So don’t think about turning us back,

Make us welcome, like refugees fleeing a warzone,

We’ve seen some shit, so give us a break man.

Senate’s edicts have no hold on us;

For this man still lives, and I am no lackey of Landman.

I’m from the same zone as your friend Imogen Holst –

Along with another bunch of artists –

She still talks fondly of you, so for her sake,

If for no other reason,

Let us travel through your seven zones.

I’ll give her a big hug for you

If you don’t grudge being mentioned in that place.’

‘Three days, you say,’ he mumbled,

‘I think you’ve been in Hell longer than you think,

But time can do funny things down there.’

Then he pulled on a face mask and approached us gingerly,

Pointing a temperature gun at our chests.

‘Looks like your Covid-free, but I have to be sure,’

He said. ‘Like New Zealand, this island is

Virus-free, but I mean to keep it that way.

Any arrivals from the mainland have to self-isolate

Before making the trip over the water,

And we check them once more on disembarkation,

We don’t want to take any unnecessary risks.’

Relaxing a little, he went on: ‘When I was working

For dear Ben at the Aldeburgh Festival in its infancy

Imo was so pleasing to my eyes

That everything she asked of me I did.

Now that she dwells beyond the evil river

She can no longer move me, such things are governed

By an immutable law buried in the university charter.

But if this lady from London, winner of the Holberg Prize,

Moves and commands you, just ask in her name.

Go then, and see that you hitch up this man’s

Trousers – a smooth rush should do it – and wipe off

All this filth

That has so clouded his face

He looks like a paramilitary:

To climb this mountain you’ll need to look smart.

All around the border of this little island,

There where the waves erode the shore,

Are rushes growing out of soft clay.

No other plants that put forth leaf or lignin

Are able to thrive here, for they cannot

Yield to the constant buffeting of the North Sea.

Once you’re done, don’t return by this way.

The sun, which just now is rising,

Will show you the best route to tackle this mountain.’

With that, he disappeared; and I stood up,

Without a word, dusted myself down,

And rejoined Berrigan who was lighting a smoke.

He took a draw, then said: ‘Let’s go dude, we must turn back,

The beach here slopes...